Spray Painting Apprenticeship

80 great tips for writers of TV

Last week I received a mail the author of the blog " Series: Chronicle of a television series from the first day , a producer of television series that wants to remain anonymous. Next to mail, enclosing a document with 80 tips for writers (and executive producers) television that seemed very practical, sensible, well-written addition.

Here are, I hope you find useful.

TIPS AND APPEALS FOR executive producer and writer

SPANISH SERIES

1. not start with the players changing residence. It is a mistake made many times and cause many problems for all teams.
2. Make your characters move at a maximum of seven sets. The size of the standard set does not support more. Neither the budget of the series.
3. If you need to make that happen outside locations in each of them enough to take things a day of shooting.
4. From the third episode on location recordings should not exceed 20% of recording time. Unify
5. names of the sets. Review the unification of the names of decorated. Do it again.
6. Controls the number of sequences with night effect in exterior locations. They take full night. If you do your sequence will be the effect later.
7. An explosion is cheaper than a car chase.
8. not abuse the very figurative scenes (from the third, do not use them). Even at a disco. By the way, "a lot of representation" is considered 30.
9. Rewrite the Bible once you have finished the first episode. Otherwise you will not serve anyone. If you choose to do so in the script includes a brief description each. At least the age and relationship with others.
10. insists, fight and die defending the idea that the series should be located at a particular site. Put examples of television USA: Dallas, Doc in Alaska, Friends, anything works. Americans locate their series, the more localized, more successful. You will not get and will continue telling you in Soria get angry if the series goes in Pontevedra, but not stop fighting, someday someone will.
11. If you use the argument from design, aesthetics and humor Catalan, believe it or not, is false. Is racism or complex, or both. Assists
12. the breakdown of script meetings, at least to the first. Defend your work and explains the whys of things. The technical teams are usually very receptive and friendly people.
13. Take an interest in the names of team leaders. Offer yourself, they would be happy to meet you. Do not hide information, not the public. Are on your computer. Make
14. all visiting writers, is kicking and know every corner of the sets and outdoor locations appellants.
15. not think that tells you that the series is dated issuance. Act as if it were, but do not believe him. Who tells you he also believes to date there, but that does not make it true.
16. sequences not write more than four pages. At some point in someone's being cut. Do you and decide how you separate the long run another sequence in two parts. The director, art director, the cinematographer, the actors and the public good will thank you. Forget the council if the sequence is really good.
17. clearly mark the end and the beginning of each day of action in the script. There are several things that require this data, the number of costume changes of actors for example.
18. tries to compensate the length of the days of fiction. If just one day into night, the following should not start at night. Confuses and creates horrible (or not) curtains. Delivery
19. the script to be proud of him. Everyone wants to work in a good series and everyone defends the script more than you think. The phrase most often heard in a breakout session to settle arguments is: "Well, what you put into the script ...."
20. In our country people (and characters) have a name and surname. At some point it will be necessary to know. Mark them from the beginning.
21. With every new version to send to the technical team, marks changes to another color. Not everyone has time to reread the script playing find the seven differences.
22. not use your life circumstances to justify things are not credible, type "is me in my home as I have this" or "I have a friend who does ..."
23. Not all the characters referred to another in the same way. "Sources" may be at work, but at home is "Jose."
24. geographically defines the space of your decorations. Mark the distances in kilometers and have respect. Characters can not move from one place to another in the time that suits us every time. Adapta
25. your script to the sets and locations once recurrent know. Are the reality of the series, people will see on your TV by far you had one thing in mind.
26. Ask the assistant director on how many extras you have an episode. Write it down and work accordingly. Save yourself
27. interpretation descriptions such as "looks at him with surprise and appreciation." No human being can give different expressions at once. Even the actors.
28. The extras agencies do not know how to dress or move as if in another era. Try to avoid them, especially if they have to dance.
29. The arrival (check character) in a setting can be as or as little as interesting as the talks started. Equilíbralas. Indeed, in general the sets are designed and built before having locations and entrances to the often poor and without adequate forillos.
30. Before making a character on another liquid spill or break an object to make you think twice if you can tell otherwise. Wet clothes, faces or breaking things takes time to shoot that can be used to improve the sequences. If this is the best way to narrate it, write it down.
Chapter
31. asked how many sets or locations can pay production by chapter. Work accordingly.
32. a character in a script has an "elegant attire" not a "smart blue suit" unless "blue" is important to the plot. The colors of the clothes are a thing of the wardrobe mistress and in any case the director and the dire picture.
33. If two characters have a conversation that a character (and therefore the viewer) see but not hear, write it anyway. Aid interpretation, the performance and sound equipment. Not distinguish the words do not mean that the conversation is taking place. If not what will you write actors.
34. If the name of a company or brand, invent yourself. Be sure not exist. Google. Then check it out with production.
35. It helps to know how much a chapter or environmental decorated location or rent a car. The more things like that you know more control over the final product will be.
36. Ubícate and places. In space and time. Two incompatible actions can not happen in the same set at the same time, even if you separate in different sequences. Although the role strain, then you have to narrate with a camera.
37. no ugly woman but bad lit.
38. As much as you say the budget, a production assistant is not a pager.
39. not abuse pictures of the characters years ago. The actors in this country (in general, of course) do not have pictures of his life in a natural pose without looking intensely at the camera.
40. What a song, a painting, poster or other object has rights does not mean you can not see on TV. Means you have to ask permission and pay the fees so you can teach.
41. With time series are eliminated in the outdoor sequences. That does not make the forillos in sets. Do not spend the forillos sequences.
42. If you do not know much about a medical procedure, police, judicial, business, computer science. If you can not, do not give fabricated data and lost time.
43. A locator and an art director needs information to start looking for a set or design a setting: not just type BAR. Add concepts so that they can find or create the right bar.
44. You know what products work. Are your words that determine the price of a chapter.
45. Ideally, the executive producer of a series is the writer, but that does not guarantee that the series is good, or to run.
46. The appearance of new characters in the first season or the following does not make the rest of the team in fortune tellers. Tell them of the new features so they can do their job. No need to call it Bible, with a single. "Doc" enough.
47. works with cinematographers who think they read all the scripts as part of its obligation. And if possible do not blame others constantly on the outcome of their work.
48. If a person reads or writes a letter, mail or other document is more than likely that the director do an insert. Write the text and send you the props team. Today
49. many series are recorded with two units and three directors and cinematographers. Strangely enough not tend to put a common basis for their work. Help all you can in that direction in order to maintain the same tone in every episode. Deliver
50. scripts within marking is mandatory. Punctuality on television is not only a virtue. Change the date and time of the meetings because they lack the main document is tiring and expensive. In general it is more uncompromising with the lack of formality with the lack of quality, although most often go hand in hand.
51. proposed changes, actors and other team members are negotiable. The proposed chain does not. Deal with it.
52. If you're going to give you an action a character can make sure it on the set you have, is consistent with the narrative is consistent with the character, is consistent with what has been seen and done in previous episodes, is consistent with reality, is compatible with the talks say you do, the can a human being. If you do not have clear do not do anything, it will take care of it the director with the help of his team.
53. If a folder with documents indicating what they are. If you see a web page indicates what appears on screen. And so with any such thing. Reports the significance of things for anyone working in vain and put your effort where it is most important to explain the story.
54. A script is a great guide. Without guidance or without part of her team lost. There must be a limit to make changes to the guide. The limit should be the breakout session script. Beyond that meeting a kitten dies in the world with each change.
55. The budget of a series does not fit another.
56. Define the consequences of an accident, a fight or beat up a character. Bumps or scars acquire a raccord along x episodes. The marks in visible areas determine the planning: There is often no time to go make-up and removing a character.
57. Answering machines with red light were very helpful ... until stopped manufacturing. And almost no one looks at the time on a wristwatch.
58. The more characters in a sequence has the harder it will burn. Sets the number of corals from a screenplay sequences television.
59. time in a series of budget or art direction is one third of the total or you are producing laughable matter how good the script.
60. must not let an actor never say in public (in front of computer) things like "my character would never say such a phrase," my character would never wear these clothes. "
61. proposals or changes that are made from the technical team are always well-intentioned, for the benefit of the final product. Some proposals of some actors or actresses are in their own benefit and sometimes coincide with the common good.
62. not required to always eat breakfast in the morning sequences. Suggest other actions. People in general can do more things at once and some actors who speak well. Planning needs
63. A few characters sequences, preferably male, to boot the days of recording. A work order can not begin with a sequence with many people, especially if they are women who have to make up, styling and dressing.
64. In the intro sequence, near the end, what time does enter the stream. It is very useful for everyone.
65. neglect or lose control in the heat of the torn, the mask and a guarantee of botched promos.
66. A good actor must know how to drive, ride a horse or bike, make an omelette, deal with the devil and talk at the same time. Or at least close a door or open a book.
67. sequences in bars, nightclubs or any agglomeration recorded, like the others, in absolute silence, without music or ambient noise, which is then placed in postponing. It is important to tell the players to be talking and gesturing as if the noise there.
68. In any production, there are occasional very good actor. He is alert and expands its role.
69. From the point of view of the most important audience is the script, but it is not even remotely, the first thing. The first impression the viewer has to do with the staging, casting, performance, lighting, costumes and scenery. All that happens long before you can assess whether you like history.
70. The sets, costumes or hairstyles are not pretty or ugly, are adequate or inadequate. Neither for that you like or to like the actors or producers. Are to communicate things without having to verbalize them.
71. not gamble on players who believe that television is a minor art or a simple projection platform. The constraints of theatrical taken out of its crazy to assistant director and production manager. And nobody wants to see those two guys nervous.
72. Try working with a cinematographer who believes that Day always means "noon-day sun" and that includes just sun there is only one and no light can enter the same for all windows.
73. If you put a couple of thugs, police, health or similar as characters chapter just an actor hired to read the sentences and the other is a helper (who can not read). The same happens in card games, business meetings or any other event where players have to interact with other characters circumstantially.
74. If you work as a team, work together. The changes in your script or rundown (whether by choice or others) will affect the rest of scripts for the series. Explain to your colleagues and save you labor in vain. The transmit information faster save more rewrites.
75. Once the series is torn, do not live far from set. Mingle with actors, directors and other technicians. Synergy.
76. If you want to know what actors think of their roles or their mood talks with makeup.
77. If there is a baby in the series tends to make it "disappear" in bassinets, cradles, dolls etc and are used to simulate the bulk. Better a single sequence with a large presence of children, many with little presence. For his sake and for the work order of the day.
78. All Actresses and some players agreed in the contract if they are to teach or intimate parts of your body. Learn the matter with the production manager before writing nudity.
79. All steps in the development of the series have a creative component in a limited time. Each chapter needs a specific number of days to get. Writing to a specific number of days, is mounted on a specific number of days, mixed in a specific number of days and is issued on a particular day. So a series can only be written to a specific number of days and it is your obligation to know how many days you have and what you can do with them. Write
80. the thirteen episodes of the season before you start recording. You'll save about one (1) million euros and one (1) million headaches.